EXPERIMENT IS A SIMULATION ON SETTINGS
Experiment is a simulation on settings.
Its a matter of perception, we cannot see/perceive mathematics
Aesthetic has a different logic than the mathematic
We don’t see the film, we only see the projection.
The artist has to be both a magician and a surgeon
Relation between shadow and movement
--the past is yet to come --
Fear of cancellation.
Big tension between theory and experiment
Impressions themselves they become actors
You have to work with probabilities. Intuitive work is very important -- you have to trust your intuition.
We have to decide what we want to remember
Pixelation films cannot be made anymore.
Film is to moderate space over time.
time + space
A Scattering Matrix
A 2nd original after several conversions.
The film exists only in the viewer
Heinz is the master of the unexpected.
I felt like Alice after falling down the rabbit hole.
The two enemies of theater/cinema are quest of absolute authenticity, and transitions of one’s character.
Gestures and facial expressions matter.
Rhythm as subtext
Worked with playback and freed you (actor) from interpretation (or interpreting?)
Watching her learning to do something.
Obvious difference between performing in theater and performing in cinema! (?)
The early experimentation came like this (archival) because of financial reasons.
I am a bit dissatisfied with film(making), at least the ones I made.
I don’t find a way to deal with it.
This is in the blurred area between documentary and fiction.
Everyone is playing himself, apart from the lead actor and lead actress.
Now, I am more scared.
We build/lay a ground for us to walk on, and a roof to protect us.
This is not my context
Directory of filmmaking in India gave the idea for some to place the addresses on a map and analyze land use.
Experimental film = Theory
Very rarely a film would make an argument
Film picturing and deconstructing theory.
Digitizing …. film … unique link to the …. past
Era of anticipation of digitization.
Susan Sontag wrote… after she died.
Intersection of film and identities
Baghdad Bahn Highway
Why we want to communicate?
Why would people want to know?
If we want a larger audience we have to go the to TV
Television is part of the war machine!
I presume: you know what is democracy now!
We must remain disorganizedly organized.
“We look forward but not back”
Tensions: desire for autonomy & independence, sharing resources, and continuity
Experimental film is in itself an institution
Screening active graffiti on the walls
I decided to disappear from the present, in order to re-appear in the future.
How to create systems which enable identities that are meant to move forward.
Heart attacks, excitement, anxiety
But I do not appear in any of the pictures
Do not fetishize difference.
Every transgression is a re-born genre
Surrealists would enter films at points they want and leave at points they want, thinking (as if) they are making the film.
The only definition for art is the definition created by the people who worked in the art world.
When speaking of the “Art world”, we would be actually speaking of the high classes of the art world (successful and established artists, institutions, …) .
Composed of opinions and facts presented by the panelists in Think:Film, Third International Experimental Media Congress, organized by Arsenal and the Film Institute of the Berlin University of the Arts, 10-14.10.2012.